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NO. 5g. [M-KNOEDLER & CO. 
556-8 FIFTH AVE. 
| NEW YORK 


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Vid 
ON FREE PUBLIC VIEW 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE AT 6 EAST 23d STREET 


BEGINNING FRIDAY, MARCH 20th, 1914 
AND CONTINUING UNTIL THE DATES OF SALE 


DRAWINGS AND SKETCHES 


BY THE 
OLD AND MODERN MASTERS 
BELONGING TO 


MomONKL S. HARRISON 


OF KENT, ENGLAND 


UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 


ON WEDNESDAY AND THURSDAY, MARCH 25th AND 26th, 1914 
BEGINNING AT THE HOURS OF 8.30 IN THE EVENINGS 


a 


ILLUSTRATED CATALOGUE 


OF 
ORIGINAL DRAWINGS AND SKETCHES 
BY THE 


OLD AND MODERN MASTERS 


THE PRIVATE COLLECTION 


OF 


COLONEL S. HARRISON 


OF KENT, ENGLAND 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON THE DATES HEREIN STATED 


FOREWORD AND DESCRIPTIONS 
BY MR. R. EDERHEIMER 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
AND HIS ASSISTANT, MR. OTTO BERNET, OF 


THE AMERICAN ART. ASSOCIATION, MANAGERS 


NEW YORK 
1914 


—  *FUEGSTI-APUDAIG TOQUINNE 
"SSOULILY[ OSVI[TA 
“UA TION 


EERE Te BEG PSE eS NE EINER EIA iN nS RENEE ES 


o> gay 
“a " 


DE RCELSRN 2 RAEN SOR ATR AE 


| 
: 


BF 


LAT 


icthssame eee 


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FOREWORD 


HERE is nothing more fascinating to the lover of the arts than 
working through a collection of artist’s studies, for aside from 
the pleasure inherent in every individual piece, he is bound to 

find a number of surprises and to make some discoveries which give ample 
reward for his efforts. This collection has offered a number of such 
surprises. ‘The expected discoveries, however, were not to be mine, and 
for the reason that they had already been made and attested to by an 
excellent authority who had passed upon this collection before I had my 
opportunity of examination. 

One of the greatest surprises was the finding of the exquisite study 
for the shepherd by Giulio Campagnola on the reverse of the Beccafumi 
drawing. It is hardly necessary to state that the reverse is many times 
more valuable than the design shown on the front. Another such surprise 
was the finding of the magnificent Moeller drawing, whose authenticity 
has already been well established and which I may safely describe as prob- 
ably the finest specimen known of that highly-interesting artist, whose 
drawings are so very rare. 

As I have only recently stated in another publication, the name of 
the artist to whom an old drawing has been ascribed should be only of 
secondary importance. Collectors should buy for the intrinsic artistic 
merit of the design, as the most famous name, combined with all docu- 
mentary proof as to the pedigree, does not make a drawing valuable 
unless the artistic qualities can justify the author’s name. On the other 
hand, drawings having artists’ names of lesser importance, or of a period 
that does not interest us very much, may have artistic qualities which 
render them highly attractive to the connoisseur. Thus we find here 
amongst the work of such a period—the Italian work of the XVIIth 
century—some specimens of unusual beauty and importance. I need 
only mention the two exquisite Domenichino drawings and those by 
Pietro da Cortona. 

It would lead too far to mention here every item worthy of special 
attention. As a whole the collection is considerably above the average of 
one which, without being devoted to any special school or period, covers 
the entire field—old masters as well as modern artists. All collections 
naturally contain specimens which are not of the quality of the majority, 
but here there are relatively few representatives of a class far below the 


good average standard, while there are quite a number of items that rank 
considerably above the average. 

Of the older Masters, I would especially mention the Cellini, the one 
of the School of Raphael, the Tintorettos, the Ribera, the Rembrandt, the 
excellent Boucher and the Gainsboroughs ; of the modern drawings, those 
by Corot, Jacque, Mauve and Millet, are especially fine, the magnificent 
cartoons by Sir Frederick Leighton deserving special attention. 

The character of the entire collection interestingly illustrates the 
discerning taste of its owner. He certainly did not concentrate his search 
on famous names alone, although of course it was only natural that many 
of these should also find their way into his hands. 

As alluded to before, a great number of the drawings by the Old 
Masters were submitted by the owner to a very high authority for 
expertizing. With these attributions I am generally in accord, and in 
those few cases where I felt inclined to suspect a different authorship, I 
have adopted the attributions of this authority rather than my own. 
With the exception of one case (the Lambert Doomer, previously 
attributed to Hobbema), no new names have been given by me. In that 
instance I felt justified to do so for the reason that I have recently seen a 
number of drawings by this artist to which the one here bears a striking 
resemblance, and also because the previous attribution was questioned in 
the conscientious catalogue of Colonel Harrison. In those few cases 
where I considered the suggested attribution not sufficiently substantiated 
by the characteristic qualities of the artists named, I have attributed the ~ 
drawings to an *‘ unknown author.” : 

R. EDERHEIMER. 
New York, January 15th, 1914. 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by the 
auctioneer, if in his judgment, such bid would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between two or 
more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so 
in dispute. 

3. Payment shall be made of all or such part of the purchase money as may be 
required, and the names and addresses of the purchasers shall be given immediately 
on the sale of every lot, in default of which the lot so purchased shall be immediately 
put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, shall be 
made within ten days thereafter, in default of which the undersigned may either con- 
tinue to hold the lots at the risk of the purchaser and take such action as may be 
necessary for the enforcement of the sale, or may at public or private sale, and with- 
out other than this notice, re-sell the lots for the benefit of such purchaser, and the 
deficiency (if any) arising from such re-sale, shall be a charge against such purchaser. 

4, Delivery of any purchase will be made only upon payment of the total amount 
due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidavys—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase during 
the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in which the Associa- 
tion is in no wise engaged, and will not be performed by the Association for purchasers. 
The Association, will, however, afford to purchasers every facility for employing at 
current and reasonable rates carriers and packers; doing so, however, without any 
assumption of responsibility on its part for the acts and charges of the parties 
engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes 
upon the fall of the auctioneer’s hammer, and thereafter, ‘while the Association will 
exercise due caution in caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 

Storage charges will be made upon all purchases not removed within ten days from 
the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association of the correct- 
ness of the description. genuineness or authenticity of any lot, and no sale will be 
set aside on account of any incorrectness. error of cataloguing, or any imperfection 
not noted. Every lot is on public exhibition one or more days prior to its sale, after 
which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will give 
consideration to the opinion of any trustworthy expert to the effect that any lot has 
been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued 
or make mention of the opinion of such expert, who thereby would become responsible 
for such damage as might result were his opinion without proper foundation. 


SPECIAL NOTICE. 


Buying or bidding by the Association for responsible parties on orders transmitted 
to it by mail, telegraph or telephone, will be faithfully attended to without charge or 
commission. Any purchase so made will be subject to the above Conditions of Sale, 
which cannot in any manner be modified. The Association, however, in the event of 
making a purchase of a lot consisting of one or more books for a purchaser who has 
not, through himself or his agent, been present at the exhibition or sale, will permit 
such lot to be returned within ten days from the date of sale, and the purchase money 
will be returned, if the lot in any material manner differs from its catalogue descrip- 
tion. 

Orders for execution by the Association should be written and given with such 
plainness as to leave no room for misunderstanding. Not only should the lot number 
be given, but also the title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects of art, the bid per 
volume or piece should also be stated. If the one transmitting the order is unknown 
to the Association, a deposit should be sent or reference submitted. Shipping direc- 
tions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be furnished 
by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 


First Session, Numbers 1 to 163, Inclusive 


WEDNESDAY EVENING, MARCH 25th, AT 8.30 O’CLOCK 


ITALIAN ARTISTS OF THE XVITH CENTURY 


BANDINELLI, BACCIO, ATTRIBUTED TO. 


1. THE CREATION. Interesting pencil drawing from theycollec- 
ane tion of G. C. Clark. 534 x 71% inches. 1/170.) 0 


BECCAFUMI, DOMENICO. 1484-1549.) © J. 
pea ne DIM hye 
2. SKETCHES OF TWO ANGELS. Sanguine drawings. On the 


upper part of the same sheet a pen study, undoubtedly by 
another hand, and in old hand writing: Date: 1588, 

3 ae ae Ferrara. On the reverse is another pen drawing which 
undoubtedly forms a study for the engraving, The Shep- 
herd, by Giulio Campagnola. The identity of this fact has 
also been confirmed by Mr. A. M. Hind, as per note on the 
mount. Of the greatest interest and importance. From 
the collection of Count Von Fries, 1777-1827. 714 x 484 
inches. 


oR) iS yi 
NX 20 Ws y = ind /) jo a y ‘ 
CELLINI, BENVENUTO. 1500-1570. VC. Colerhender 
3. STUDIES OF HANDS AND DRAPERIES. Sanguine draw- 


ing. On the reverse are ornamental designs, and another 

om oe piece of drapery. Signed in ink, B. Cellini. A drawing of 
the first importance, and especially remarkable is the one on 
the reverse. 614 x 51% inches. 


DA CIGOLI, LUIGI CARDI. 1559-1618Q), (Rieke 


4. PERSEUS. A capital pen drawing, said to represent Perseus, in 
the catalogue of the previous owner. Signed in ink, Cigoli. 
va eect 11 x 7% inches. 


CORREGGIO, ATTRIBUTED TO. . “(a = 


5. THE NATIVITY. A most interesting design in pen and sepia, 
most likely after the master’s composition by a Dutch or 

a os German artist working in Italy, as the line-work seems 
to be much more of the Northern character than in the 

Italian style. <A highly interesting drawing. 15 x 1034 


inches. 


COCK, HIERONYMUS. 1510-1570. Flemish artist who 
worked in Italy. Vine (3 


6. THE ANNUNCIATION. A drawing showihg the characteristic 


style of the artist, strongly infldenees by his Italian sur- 
pie ee roundings. 1134 x 10 inches. 


a 


DEGLI UBERTI, PAOLO, called FARINATO, — 1524- 


1616. Wr UW tatGi 
7. MOTHER MOURNING A PLAGUE-STRICKEN CHILD. A 


most vigorous pen drawing. On the reverse is a portion of 


ge Cie) a letter dated 1608. 334 x 734 inches. 


MAZZOUOLI, FRANCESCO, called PARMEGIANO. 


1503-1540. oy 
8. ST. CATHERINE. Sanguine drawing. From the collection of 
/5 § Philip Houlditch. 534 x 71% inches. 
qs 


ATTRIBUTED TO THE SAME MAST R. | 
iB CL: ¥, idl 


9. ORNAMENTAL DESIGN, from the collection of Richardson 
a, and Houlditch. A vigorous drawing, which appears, how- 
Om ever, to be of the school of Raphael. 35¢ x 71% inches. 


ATTRIBUTED TO THE SAME MASTER. hornets 


10. ST. LUKE THE EVANGELIST, WITH AN ANGEL HOLD- 

ING AN INK STAND. Pencil and sepia drawing, with 

Push the signature Passignano, the signature apparently added 
by a later hand. Inasmuch as our attribution has been 

verified by a better authority, we give it here under the 

name of Parmegiano. On the reverse is a pair of hands in 

sanguine, exquisitely drawn and with the name in ink, Del 

Frato.. 1114 x 7 inches. 


PAZZI, GIOVANNI BATTISTA. 1556-1627. 


11. THE MARTYRDOM OF ST. GREGORY. A most vigorous 
and beautiful design, in ink and sepia. Signed, G. B. 
/ 3 i da ‘Pazzi. 121% x 814 inches. 


REGILLO, CAV. GIOV.. ANT. LIZZINIO, called 


IL PORDENONE. 1483-1540. 


12. ST. JOHN THE EVANGELIST. Sanguine drawing on 
greenish paper, white high lights added. Signed in ink, 
ee ° Da man del Pordenon. : 


VANUCCI, PIETRO, called PERUGINO, ATTRIB- 


Pee eh a 


AL 


es 


UTED TO. ges VA iat) 


13. LARGE COMPOSITION, A ROMAN EMPEROR IS BEING 
OFFERED A CUP BY A GODDESS, INTO WHICH 
MERCURY, STANDING BEHIND HIM, IS DROP- 
/ a ae PING SOME HERB. Drawing in pen and bistre, with 
white high lights added. Interesting Italian XVIth cen- 
tury drawing, undoubtedly much later than Perugino. 15 

x 21 inches. 


SCHOOL OF RAPHAEL. Pe. \- GEA UE ae 


14. ORNAMENTAL FRIEZE SHOWING ‘GODS, CENTAURS. 
i AND CUPIDS. Attributed to Raphael, but undoubtedly 
eee by one of his pupils, Lucca Penni or Cay. d’Arpino.  In- 
teresting and decorative drawing in pen and wash, from 

the collection of Thomas Hudson. 6 x 17 inches. 


i 


SCHOOL OF RAPHAEL. OAD: (¢ Ae ee 


15. DIANA, WITH HER DOG AND THREE COMPANIONS 
GOING TO THE CHASE. A magnificent pen and wash 

Oo /s? - drawing of the very highest quality. Undoubtedly the 
y ae work of one of the very great Masters, if not by Raphael 


SCHOOL OF RAPHAEL. ATTRIBUTED TO GIOV. 
FRANCESCO PENNI, 1488-1528. 
16. ROMAN SOLDIERS HIDING IN A WOODEN OX, ILLUS- 


TRATING A SCENE FROM VIRGIL. A highly in- 
404 teresting pen and wash drawing. 614 x 8 inches. 


himself. 914 x 15 inches. 


ROMANO, GIULIO. 1498-1546. (7?. a 
17. STUDY FOR THE TAKING OF CARTHAGO BY SCIPIO. 


On the reverse is a design of a griffin. An interesting and 
3 ada characteristic pen drawing. 6°34 x 81%, inches. . 


ROMANO, GIULIO, ATTRIBUTED (age Qrrcheruper 


18. A BATTLE ON A BRIDGE. Very interesting and large 
composition. The line work, however, does not show 

sve the freedom of originality, and suggests the work of a 
cm copyist. From the collection of Nathan Hone. 14 x 1314 


inches. 2 


DEL SARTO, ANDREA, ATTRIBUTED TO. 1457-1531. 


19. ST. ELIZABETH RECEIVED IN GLORY BY THE 

VIRGIN, HOLDING THE CHILD. Drawing in pencil 

pala! “— and white chalk, on greenish paper. Of the greatest 
beauty. 1034 x 8 inches. 


SALIMBENI, VENTURA. 1557-1618. 7. ( Pyy, Ja 


20. THE VIRGIN HOLDING THE CHILD, CROWNED BY 
TWO ANGELS SURROUNDED BY SMALLER 
0 — ANGELS. Circular composition mounted on a square, 
showing ornamental design and the signature Salinbeni 

Ventura. A superb drawing. 8 x 7 inches. 


SALVIATI, FRANCESCO. 1510-1563. Oe 
21. INTERIOR OF A GUARD ROOM, SHOWING THE 
WINDOW OF A PRISON TO THE LEFT AND 
boas SOLDIERS PLAYING CARDS. Circular composition 
on a square piece of paper, showing the signature in the 


lower right corner. A vigorous composition. 8°4 x 834 
inches. 


THE SAME. _ (2 


22. CERES BEARING HER TORCH INTO THE KINGDOM 
OF PLATO. Penand sepia. Signed, F. Salviato, in lower 
és oo right corner. <A vigorous and beautiful drawing. 1034 


x 634 inches. 
MEDOLLA, ANDREA, called SCHIAVONE. 
23. A BATTLE SCENE. Color-wash cartoon. <A powerful and 
fine composition. 18 x 3514 inches. 
} VA of % 


DA SESTO, CESARE, ATTRIBUTED TO. tie Maar 


Qiiclerin 
1522-1582. 


24. THE MARTYRDOM OF ST. BARTHOLOMEW. A vigor- 


Ly 4 ous, interesting and beautiful pen ga very bold 
on 


conception. 10 x 81% inches. 
ROBUSTI, JACOPO, called TINTORETTO. ((512- 594, 
25. ST. JEROME. 


A vigorous drawing in chalk and bistre. Very 


2) powerful and characteristic. 7 x 7% inches. 
. 4 
THE SAME. ; 


26. A BISHOP LYING IN STATE. Highly ak peaaoean and 
interesting wash drawing. A specimen of importance. 


as a Semi-circular. 914 x 145¢ inches. 
TITIAN, ATTRIBUTED TO. Den ity 


27. HEAD OF AN OLD MAN IN RED We BLACK Lava oar 


Highly interesting and strong drawing. Undoubtedly by 


| aaa a master of high rank, but showing nothing of the char- 
acteristies of Titian. 9°4 x 8 inches. 


UNKNOWN MASTER OF THE ROMAN SCHOOL 


OF THE SIXTEENTH CEN ee "7 ee 


28. DESIGN FOR A BAS-RELIEF, SHOWING A GRECIAN 
nes OR ROMAN SACRIFICE. Interesting drawing. 10 x 
Cane 734 inches. 


VANNI, FRANCESCO. 1565-1609. 7. tel ee 


29. THE. VIRGIN WITH CHILD IN GLORY, ADORED BY 
SAINTS. Highly interesting and decorative pen and 
wee wash drawing. Signed in ink, on the lower right corner, 
F. Vanni, with the Collector’s mark of Count Rossi. 12 x 

914 inches. 


THE SAME. of oe 
30. VENUS ATTIRED AFTER THE BATH. Pen and wash 
50 drawing. \/ 
THE SAME, ATTRIBUTED TO. 
31. A SAINT IN PRAYER. Beautiful Kai drawing. 10 x8 


4° inches. 
me 


AGLIARI, PAOLO, called IL vEROmEE at 


32. VICTORIA COLONNA DEPARTING IN HER BARGE FOR 
Ping) tase THE ISLAND OF TSCHIA, ON THE OCCASION OF 
HER MARRIAGE TO FERANTE DE AVALOS, 1509. 
Superb composition and characteristic drawing in pen and 

sepia. 8 x 18% inches. 


ITALIAN ARTISTS OF THE XVIITH AND 


XVITITH CENTURIES (° y 
se 7 é 
ALBANO, FRANCESCO (also called ALBANT). 1578- 
1660. 
33. THE HOLY FAMILY. Sanguine drawing signed in pen in 
said gs lower left corner, Albano. 14144 x 103% inches. 


Qs 
SAME ARTIST, ATTRIBUTED TO THKC ¢ Gndeuo1| 


34. SACRIFICE 'TO DIANA. Large and interesting e&mposition. 
ee: Sanguine drawing. 8% x 18% inches. 


1764, 


CONCA, SEBASTIANO, PUPIL ea aa 1680- 
35. THE NATIVITY OF CHRIST. Super/pen and wash draw- 


es TO ing. Rich composition. 9% x 1014 inches. 
DA BERETINI, PIETRO, called PIETRO DA COR- 
TONA. 1596.-1669. re d 


36. ST. CLAIRE DISPERSING THE BARBARIANS. Vigorous 
We. ge drawing in pen and wash. 7% x 1414 inches. 


THE SAME, Sea ee 
37. FEAST OF BACCHUS. Large alee nin oval. Magnifi- 


/ 7s cent pen and sepia drawing. 9% x 1714, inches. 


THE SAME. oe 
38. THE MARTYRDOM OF ST. LAWREN/ZE. 


Ae position in the master’s characteristi¢ style, signed in the 
<— lower right corner, P. Cortona. 13°34 x 814% inches. 


TO ae era Wee ober ds 


Vigorous com- 


39. THE ANGEL APPEARING TO HAG@AER AND ISHMAEL. 
Signed in the lower right corner\/P. Beretini. A beautiful 


ae ‘ : : e é 
ae! drawing in pen and bistre. 9°4 x 714 inches. 


ZAMPIERI, DOMENICO, called IL DB ec. 


1581-1641. 
40. A STUDY OF TWO FIGURES IN D CHALK ON 
GREENISH PAPER. Beautiful drawing. 13 x 9144 


Ke 4) cae inches. 
[e da 


THE SAME. 
41. HEAD OF ST. JOHN. Drawing in red ard black chalk of the 
greatest beauty. In the catalogue the previous owner 
A535 Se the note, “sold at Christie’s, May 12, 1910.” Showing a 
collector’s mark in the lower left corner. 1114 x 8 inches. 


THE SAME. 
42. STUDY OF A SLEEPING YOUTH. A chalk drawing of the 
first importance, with the collector’s mark of Nathan 


Hone, 1718-1784. Another collector’s mark in left corner. 


Bo Je am 
614 x 734 inches. 


DOMENICHINO, ATTRIBUTED TO. G 
43. STUDY OF A NUDE FIGURE IN CLOUDS. This drawing 


appears to be more similar to the work of Correggio. 


ee is) $0 1034 x 814 inches. 


IN b 
FRANCESCHINI, MARK ANTONIO. 1648-1729. 
44, FIVE CUPIDS PLAYING WITH A GOAT. Spree 


SANGUINE DRAWING, signed in the lower right-hand corner, 
pel Vee showing a note, on the mount that was engraved by Barto- 


lozzi. 6% x 1034 inches. Le 


DE FERRARI, LORENZO. 1680-1744. 


45. GROUP OF SAINTS, THE VIRGIN ABOVE ON CLOUDS. 
IN THE CENTER ST. CHRISTOPHER SUCCUMB- 

ING UNDER THE WEIGHT OF THE CHILD JESUS, 

) ie WHOM HE IS CARRYING ON HIS SHOULDER. IN 
THE DISTANCE ST. SEBASTIAN TO THE RIGHT, 

A RIVER TO THE LEFT AND) ITWOsGEaGE 

SAINTS. Spirited pencil drawing signed in the lower left 


corner in ink. 914 x 8 inches. 


GUARDI, FRANCESCO, ATTRIBUTED TO, 1712- 


1793. //- (os 


46. THE ARCH OF TITUS AND THE COLISEUM IN THE 

DISTANCE. Pen wash and sepia drawing. This seems 

nd a ae to be more like the work of Piranesi, 1720-1778. 1714 x 
105 inches. 


LUTI, BENEDETTO. 1666-17 


47. SANGUINE DRAWING OF A FEMALE  Candirers SUP- 
POSED TO BE A SYBIL. From the collection of J: 


J 3 a6 Richardson, Jr. 7% x 5 inches. ip 
CARLO MARATTA (also called sana Cathie 


48. THE VIRGIN HOLDING THE CHILD, STANDING ON A 

CRESCENT, FACES OF ANGELS APPEARING IN 

pee. 0 ‘— THE CLOUDS. Beautiful sanguine drawing. 14% x 
91%, inches. 


MEUS. (or MEHUS), LIVIO. 1639071691. Flemish artist 
who worked in Italy. Pupil of Pietro da Cortona. 


at Pie THE EXPULSION FROM EDEN. Spirited wash drawing, 
5 signed in ink in lower right corner. 634 x 61% inches. 


THE SAME. Ge ele 


50. NEPTUNE, WITH DOLPHIN AND NEREID. Signed in 
ll x 7% 


. ink in right corner. Monogram in lower left. 


o¢ ° 
4 inches. 


iene G 
G: Vena ale 


THE SAME. - + 
51. THE BISHOP OF PADUA BLESSING THE LEADERS OF 
oe THE LAST CRUSADE. Signed, Livio Meus, in lower 
a ree right corner. Spirited pen drawing. 714 x 85% inches. 


rash drawing. 


52. STUDY OF THREE CAVALIERS. digs and wash 
184 x 10% inches. 


Signature in lower right corner. 


i eee 
OLIVIERI, DOMENICO. 1679-1755. ky Gb ee 
Pen and wash 


538. THE ADORATION OF THE SHEPHERDS. 


drawing. 1114 x 714 inches. 
ee he 
NICO, called [L PASSIGI 


CRESTI, DOME! 
54. STUDY OF THE FIGURE OF THE INFANT CHRIST. 


Sanguine drawing, signed in ink in lower right corner 

JS 1214 x 7% inches. 
THE SAME. 
go rH RISEN CHRIST, SHOWING THE | 


Sanguine drawing like No. 54. Signed dal Passignano in 


/ od © the upper left corner. 12% x 8 inches. 


: Aa 
RENI, GUIDO. 1575-1642. ate aerate Vie 


56. APOLLO DANCING WITH THE MUSES. Pencil drawing 
pt with white high lights put on. This attribution has previ- 
ously been verified by a high authority. 1634 x 27% 


— 


Ly w rf 


STIGMATA. 


‘ 


inches. 


RENI, GUIDO. (Continued) 


57. MATER DOLOROSA, said to be study for the painting for- 

ioe merly in the Borghese Palace (Ottley). (Note of the 

ye previous owner on mount.) Sanguine drawing, on the 
lower part, two studies of hands. 914 x 71 inches. | 


RIBERA, GIUSEPE, called IL SPAGNOLETTO. 1589- 
1656. 


~~ 


58. SPIRITED COMPOSITION SAID TO REPRESENT SOLO- 
MON BUILDING THE TEMPLE.' The writer has 

recently had opportunity to see a collection of drawings by 
Ona Ribera, and the present one appears to him to resemble 
those very strongly, especially in the figures seen in the 

background and the left, which are very characteristic for 


that master. A highly interesting pen and wash drawing. 
814 x 1114 inches. 


L747. 


v 


SOLIMENA, FRANCESCO, A TO; 16572 


59. STUDY OF AN ANGEL, in black chalk on brownish paper. 
118% x 8 inches. 


y a &, d Wed oe 
UNKNOWN MASTERS OF THE XVIITH CENTURY 


60. THE TRIUMPH OF GALATHEA. Spirited pen and wash 
ge drawing. 514 x 7% inches. Gs 


61. A GROUP OF PEASANTS. TO THE RIGHT A MOTHER 


HOLDING HER CHILD. 10 x 81, inches 
62. ST. BERNARD SURROUNDED BY ANGELS KNEELING 


BEFORE THE MADONNA, APPEARING TO HIM IN 
ye ‘ CLOUDS. Spirited sanguine drawing of great beauty. 


cee From the collection of Richard Hudso1 (nen ee 
63. ALLEGORICAL BATTLE SCENE. ait A sepia eh 
lights put on. Powerful composition, probably of the late 


fos $v_ = =9XVIth century. Formerly in the Sir Joshua Reynolds 
collection. 924 x 80° inches. 


DUTCH, FLEMISH, AND GERMAN DRAWINGS OF THE 
XVITH, XVUITH AND XVIIITH CENTURIES 


BERCHEM, NICHOLAS. (/?- a Beas 


64. SHEPHERDS IN A WIDE LANDSCAPE, A RIVER TO 
THE LEP WITH A BARGE, IN THE CENTER A 

a WOMAN KNEELING BY A GOAT, BEHIND A 

— SHEPHERD WITH AN OX. Characteristic pen and 
wash drawing. 11 x 161 inches. 


DUBOURG, L. F.. ATTRIBUTED fee Amsterdam, 1693- 


E775. CF 3 
65. A ROMAN SOLDIER CARRYING AWAY A SABINE 
Fe WOMAN. Large sanguine drawing. 1514 x 121, inches. 


DOOMER, LAMBERT, ATTRIBUTED. TO.  1622/23- 


1700. 3 (p- ocd Paes 


66. DUTCH LANDSCAPE. COTTAGE ON THE LEFT AND 
Pees LO THE RIGHT, DISTANT IN THE 


CENTER, A VILLAGE WITH WIND MILL. Spirited 
Pi pen and water color drawing attributed to Hobbema 


by the previous owner, but more resembling the work 
of the artist to whom it is attributed here. 8 x 125 inches. 


VAN GOYEN, JAN, ATTRIBUTED T 356-1666. 


67. A TOWN ON ROCKS BY THE SEASHORE. IN THE 

FOREGROUND, FISHERMEN AND BOATS. Inter- 

eee esting drawing, but most unlike the other drawings by Van 

aL oo Goyen. Signed in the lower left, Van Goyen, 1644. 24, x 
73 inches. 


DE MOMPER, JODOCUS. HE IN ee. 


68. WIDE LANDSCAPE, WITH RIVER IN THE CENTER 

AND HIGH MOUNTAINS TO THE RIGHT IN THE 

REAR. Dated October 13th, 1622, on the upper right. 

/2- = Superb pen and sepia drawing. Very characteristic. 
8 x 1334 inches. 


REMBRANDT, HARMENSZ VAN RYN. 1608-1669. © 


69. A RUINED FARM. Magnificent pen and wash drawing. 
From the Olney Hall collection. Very much like No. 29 of 

a ) v6 = the ~Hesseltine collection (see Muller catalogue, May, 
1918). A DRAWING OF GREAT IMPORTANCE. 614 x 9 inches. 


RUBENS, PETER PAUL. ae a: NL 

70. A BATTLE SCENE. MacniricenT LARGE COMPOSITION IN 
PEN AND SEPIA WASH. From the collection of Jonathan 

( —.«_ Richardson and Geo. Wilson. On the reverse, in an old 
8 hand, is the note, “ This drawing by Rubens, was formerly 

in the possession of Jonathan Richardson, after whose 

decease it was sold, and Joshua Reynolds was very desirous 

of becoming a purchaser, but Mr. Joseph Read, the owner, 

would not then part with it. I afterwards bought it of 

him, know its value, and never wish to sell it.” Signed, 


“Geo. Wilson.” 283 x 1484 inches. 


VAN RUYSDAEL, JACOB, ATTRIBUTED TO. 1680- 


1681. =oy Lf 


71. A WATER MILL. Study said to be a study for the painting 

in the possession of Lord Holderness. Interesting drawing, 

3 ree but unlike the drawings of Ruysdael known to the cata- 
rls loguer. 35 x 71% inches. 


VAN STRY, JACOB. 1756-1815. (One of the best Dutch 
artists of XVIIIth century.) yy . , NV, 


72. WINTER SCENE, WITH SKATERS AND SLEIGHERS 
ay ON ICE. WALLED CASTLE TO THE LEFT. 
lel ee Spirited pen and wash drawing. 514 x 714 inches. 


DE VLIEGER, SIMON. Born 1612. ,._ ; 


Kw 


73. LANDSCAPE WITH POND, SHOWING BRIDGE AND 
TOWER TO THE RIGHT. IN THE DISTANCE TO 
/ 5%’ THE CENTER MEN IN A BOAT. Signed, S. De 
Vlieger. A characteristic and fine pencil drawing. From 

the collection of H. Hamel Leod. 614 x 9 inches. 


WYNANTS, JOHN. ne 


74. WIDE LANDSCAPE WITH TWO LARGE TREES IN THE 
CENTER, AND A SHEPHERD WITH HIS FLOCK; 
TO THE LEFT, ON HIGH ROCKS, A CASTLE 
— 4, ‘~. —«s BEYOND A RIVER; IN THE FOREGROUND A MAN 
IS SEATED ON THE TRUNK OF A TREE TALK- 
ING TO A WOMAN. Interesting pen and sepia drawing. 
From the collection of the Earl of Warwick. 10144 x 1614 
inches. 


THE SAME. ~ _ F-(Cneedale 
79. WIDE LANDSCAPE, RIVER TO THE LEFT, WITH A 


CATTLE FERRY; TO THE RIGHT MEN ON 
HORSEBACK; IN THE DISTANCE HOUSES, AND 

ci Og — FURTHER BACK HILLS WITH CASTLE. Powerful 
pen and bistre drawing. From the collection of the Earl 
of Warwick. 1144 x 175% inches. 


VAN DYCK ANTHONY, ATTRIBUTED TO. — 


76. MADONNA AND CHILD. A highly interesting and very fine 
drawing in India ink and red chalk. The hands, draperies 
and ink work are very characteristic of Van Dyck, and 


is j te there is every reason to believe that the attribution is cor- 
rect. From the collection of Sir Peter Lely. 8°84 x 6144 
inches. 


VAN OSTADE, ADRIAN, ATTRIBUTED) y ). 
77. A QUACK DOCTOR TRYING TO SELL MEDICI 
by PEASANTS. Sanguine drawing probably don 

2) — XVIIIth century, after Ostade. 634 x 614 inches. 


Dial & 6, 


in the 


MOLLER (MOELLER), ANTON. poe Germany, 


1560-1620. Se ees 


78. VILLAGE KIRMESS. IN THE DISTANCE IS A TOWN, 
WITH CHURCH AND TOWERS. IN THE MIDDLE 

‘ GROUND PEASANTS DANCING AND BOWLING. 

SIT - TO THE LEFT A GROUP SEATED AT A TABLE 
DRINKING. IN THE FOREGROUND A TERRIFIC 

FIGHT IS RAGING, WHILE QUIET OBSERVERS 

OVERLOOK THE SCENE FROM THE RIGHT. 


MONOGRAM A. M. ON THE LOWER LEFT; 
TOWARDS THE CENTER. A drawing of the highest 
finish and greatest minuteness. Drawings by this artist 
are extremely rare. There is said to be one in the 
British Museum showing the identical landscape of this 
one and of which there is a pendant in the Museum 
at Berlin. THis DRAWING IS PROBABLY THE MOST IMPOR- 
TANT AND FINEST OF Moer.uer’s work. His drawings 
previously known to me are more crude and bold. In an 
antique, hand-carved frame. 634 x 1014 inches. 


[See Frontispiece. | 


FRENCH ARTISTS fer, Lit 
DE BOISIEU, JEAN JACQUES 


1736-1810. 


79. BOY SEATED ON A GRASSY BANK UNDER A TREE. 
A magnificent red chalk drawing dated 1780, with the 
artist’s monogram in the lower left corner. From the 


XV ‘"— Mildmay collection. 1314 x 914 inches. 


BOUCHER, FRANCOIS.  1703- vnolle Cee. 


80. BLACK CRAYON STUDIES OF THREE LARGE AND 
FOUR SMALL HEADS. Signed, Boucher, in the upper 


right corner. Magnificent design in the master’s most 


characteristic manner, especially the one large head in the 
} ' ae 4 : a . a . . . a 
LL SJ —__~—s center below. An exquisite and highly representative 
specimen of Boucher’s work. 12 x 914 inches. 


[See Reproduction. } 


BOUCHER, ATTRIBUTED TO. 4, Mi 


81. A LANDSCAPE WITH POND IN CENTER AND HOUSES 
IN THE REAR AND ON THE LEP 
Beh ee MIDDLE A WELL AND IN THE FOREGROUND A 
GARDENER WITH A WHEELBARROW, AND TWO 
WOMEN SEATED IN CENTER ON THE BANK OF 
POND. PLANTS AND SHRUBBERY TO THE 
RIGHT. Interesting French XVIIIth century drawing, 
and probably by Boucher. 814 x 12° inches. 


BOUCHER. 
Black Crayon Study. 


Jumber Eighty. 


UTED TO. 1699-1779. 


82. A PEASANT SEATED ON A STONE WITH A BASKET 

BEFORE HIM. French sanguine drawing, and most 

A pe likely done by Chardin, whose work it most strongly re- 
sembles. 85 x 6 inches. 


COYPEL, NICOLAS. 1692-1784. (©) ey eee 


83. ARIADNE AND DIONYSUS. Sepia and wash drawing. Of 
the greatest beauty. 10 x 1414 inches. 


Hoga 
DROUAIS, JEAN GERMAIN, ATTRIBUTED TO. 


1763-1788. : LL a 
tr (2 (3 blr 
84. HEAD OF A YOUNG CiBL: Sanguine study. 8% x 65% 


inches. 


CHARDIN, JEAN BAPTISTE 2) N, ATTRIB- 


oP te 


HUET, JEAN BAPTISTE. 1745- ist © Oden 


85. LANDSCAPE WITH ROCKS AND BRIDGE IN THE DIS- 

TANCE, TWO WANDERERS IN THE FORE- 

Vays: GROUND. Black and white crayon on greenish paper. 

a Characteristic French XVIIIth century drawing of great. 
beauty. 614 x 99% inches. 


LANCRET, NICHOLAS. 1690-1743. / Y, QB 


86. FEMALE STUDY. Interesting sanguine drawing. The attri- /, 
pak Lt os bution verified by competent authority. 714 x 48 


‘inches. 


LANCRET, ATTRIBUTED TO. 


87. FISHERMAN WITH NET, IN THE FOREGROUND A 
BOAT. Interesting and spirited sanguine drawing from 
oY “te — the W. Walker collection. 71 x 1214 inches. 


PILLEMENT, JEAN. Raia, (). (4 retrr 


88. A BUNCH OF ROSES AND OTHER FLOWERS. Crayon 
drawing, signed Jean Pillement. 10%4 x 13 inches. 


Us 


POUSSIN, NICOLAS. 1593-1665. f. : ee 


89. THE BRAZEN SERPENT. Highly interesting pen and sepia 
7 30 drawing. 5°9¢ x 8% inches. 
/ — 


LE PRINCE, JEAN BATTISTE, ATTRIBUTED TO. 
1738-1781. mee tn 


90. THE FOUR SEASONS, SPRING, SUMMER, AUTUMN, 

AND WINTER. Highly interesting and characteristic 

bh Se French XVIIIth century crayon drawings. <A set of four. 
Each 9 x 12 inches. 


PRUDHON, PIERRE PAUL. 1758-1823/¢_ CONE 


91. ACADEMIC PEN STUDY OF NUDE MAN SEATED ON A 
STONE. 1414 x 93% inches. 


pee 
THE SAME. Is 


92. ACADEMIC PEN STUDY OF NUDE MAN LEANING 

WITH HIS RIGHT HAND ON A STONE WHICH 

y 72 SHOWS A CLASSICAL RELIEF CARVING. Two 
os 


highly interesting drawings. 14 x 934 inches. 


LE SUEUR, EUSTACHE. 1617-1655. Z h 
93. THE ARCADIAN SHEPHERDS. Highly interesting pen 


drawing in brown ink. ‘The attribution of the previous 
l g 9¢ owner is here attached, but to me it appears to be the work 

of an artist of higher rank of the end of the XVIIth 

century. A magnificent drawing. 1114 x 18% inches. 


WATTEAU, JEAN ANTOINE, ATTRIBUTED TO. 
1684-1721. -) 


; 


94. A YOUNG GIRL STANDING BY A FOUNTAIN. IN THE 
REAR A CASTLE. Most probably the work of one of 
) the pupils of Watteau, showing spirited and interesting 
line work, but doubtful whether by Watteau himself. 1014 

x 6% inches. 


Hes (C3 ee 


UNKNOWN FRENCH ARTISTS 
95. CLASSICAL SUBJECT IN THE STYLE OF FRANCOIS 


C vo VERDIER. Interesting French drawing of the XVIIth 
century. 65 x 8% inches. yy 


96. TWO MARTYRS TIED TO A STAKE. Sanguine drawing 


SO of the XVIIth century. 714 x 414 inchgs. ie | 
97. FRONTISPIECE TO A FRENCH EDITION OF VIRGIL. 


Interesting French pen and sepia drawing of the late 


se , 
XVIIth century. 6% x 41% inches. 


98. STUDY OF THREE HEADS ON ONE SHEET. On the 
reverse, studies of figures. One of the three drawn in 
SO crayon, very much in the style of Boucher, while the two 
sanguine heads look more like Italian XVIIth century 
work (Guercino). This highly interesting drawing was 
attributed by its previous owner to Grenze, for which 
attribution, however, there seems little foundation. <A sheet 
of sketches of the greatest beauty. 9 x 734 inches. 


ENGLISH ARTISTS OF THE XVIIITH AND EARLY 
~ XIXTH CENTURIES 


CONSTABLE, JOHN R. A. 1776-1837. oh 


99. WILLOWS BY A BROOK. IN THE DISTANCE A WIND 
ah tte MILL. Charcoal drawing with white high lights. From 
~~ the collection of Col. Constable. 814 x 1014 inches. 


FUSELI, HENRY. Swiss painter working in England. 
1738-1825. 3 


La 
100. WATER COLOR PORTRAIT PAINTING OF SIR RICH- 
ARD WESTMACOTT, 1775-1856, THE SCULPTOR 
oe WITH THE BUST OF CC. S. FOX Sst ei. 
BEFORE HIM. Very clever water color design. The 
lower right corner of this well-executed drawing is not 
finished. 9 x 71/4 inches. 


THE SAME. : : 


101. PENCIL DRAWING OF THE BUST OF THE EARL OF 
ak $0 CHATHAM. Unframed. 71@ x 514. inches. 


GAINSBOROUGH, THOMAS. 1727-1788). e iS ies: 


102. TWO DRAWINGS ON ONE SHEET IN FRONT, RIDER 
WITH TWO HORSES AND DOG IN A STORM, AND 
ON THE REVERSE, SHEEP IN OPEN LANDSCAPE, 
ma yy, COTTAGES TO THE RIGHT AND CENTER, AND 
LARGE TREE TO THE LEFT. Highly spirited draw- 
ings in black and white chalk on gray paper. The one in 
front signed 'T. Gainsborough and the one on the reverse 
T. G., and date 1747. Drawings of the first importance. 
Front—9 x 108% inches. Reverse—914 x 834 inches. 


[See Reproduction. | 


THE SAME. G | eas 
pe Ce 
103. WIDE MOUNTAINS LANDSCAPE, WITH FLOCK OF 


SHEEP AND SHEPHERDS TO THE -LEFT, SAID 
= TO REPRESENT HAMPTON ROCKS, BATH. 11 x 
aS he 1414 inches. 


LAWRENCE, SIR THOMAS. 1769-1830.(/~) © 


104. SIX STUDIES OF FEMALE HEADS ON ONE SHEET 

IN WHITE, RED, AND BLACK CRAYONS, SIGNED: 

a “SAM DRAPER’S GYPSY FAMILY.” Exquisite and 

/ Sw highly characteristic sketches of the greatest beauty. 
934 x 121, inches. 


THE SAME. 2 


" 
105. PORTRAIT OF MISS SARAH SIDDONS, DAUGHTER 
OF THE FAMOUS ACTRESS. A superb portrait in 

By a? black and red crayons. Oval. 


tel 
MORLAND, GEORGE. 1763-1804. 
‘A /} 
106. PENCIL DESIGN OF MAN WALKING IN THE WATER 
TO HIS KNEES, GATHERING DRIFT WOOD. 
S Highly spirited and most characteristic pen drawing. 
De x4, 3 “s . . ; Cy ery 
G— -— —— Signed G. Md. A design of great beauty. 8% x 6% 


inches. 


; e yoS10F] OMT, yy OPAL - 
“HODNOUOUSNIVD 


ee 
NORTHCOTE, JAMES. 1746-1831. gO. | 


VX. Me tale 
107. WATER COLOR OF THE BUST OF PRINCE HOARE, 
after the sculpture by Bonomi. Prince Hoare was editor 
Cee of Northcote’s Essays, and this drawing was made for the 
frontispiece of that publication. 9 x 714 inches. 


ROWLANDSON, THOMAS. 1756-1827. 


108. DESIGN FOR “JACK AFLOAT” (engraved). Sailors in 
the-hold of a ship jesting with a woman. Signed and dated 
4 Rowlandson, 1785, in the lower left corner. 91 x 18 


inches. 


\& 


REYNOLDS, SIR JOSHUA. 1728-1792%Ley. (0.(3 Otay 


109. SIX CHARCOAL STUDIES ON ONE SHEET, after the 

groups in the Sistine Chapel by Michel Angelo. From the 

J) 4s collection of Geo. Smith, Esq., F. S. A. 1714 x 113% inches. 
ars Highly interesting drawing. 


FOSTER, W. /e.\ i ee. 
110. TWO PENCIL WASH AND WATER COLOR (DRAWINGS 

SAID TO BE PORTRAITS OF J. H. CLARK, OF LIN- 

COLN, AND HIS WIFE. Signed and dated W. Foster, 
77 ef §6°'1812. Both 6x 43,4 inches. 


DRAWINGS OF THE XIXTH CENTURY 


AUMONIER, J. - Gi, Oittr 


111. NEAR RYE, SUSSEX. India ink drawing. Study for the 


picture in Tate Gallery, which was purchased by the 
ay a Chantry Bequest. 7 x 12% inches. 


BARGUE, CHARLES. Died in Paris, 1883. Pupil of J. L. 
Gerome. 4 
h " 
112. PENCIL SKETCH OF AN ARAB, showing the stamp “ Vente 
Bargue, 1883,” in the lower right corner. 


In a solid bronze 
mee C7 frame. 10 x 5%% inches. 


Me 


BARGUE, CHARLES. (Continued) Lyin Co G ble 


118. STUDY OF A WOMAN IN ORIENTAL GARB, apparently 
> oF the pendant to the previous item, showing same stamp and 
fom quality. 1114 x 71% inches. 


THE SAME. BY CI 


114. A CUIRASSIER ON HORSEBACK, GALLOPING OVER A 
BATTLEFIELD. Same stamp as on the two previous 


a Os items in lower right corner. 


BOUVIN, J. 1817-1888. ie Ne [3 


115. A MARKET GIRL. Highly interesting and clever 
water color. Signed J. Bouvin, ’47, in lower right corner. 


fot 8 x 514 inches. 9 


BORGOS (?) (Perhaps Antonio de Burgos). _Modern Spanish 


landscape painter. ee Q. (3 per gay 
116. STUDY OF ROCKS IN PASTEL. From the -Alexander 
Young collection. 11 x 161% inches. 
bt 
ees 


CHIFFLART, FRANCOIS. 1825-190 


117. A GROUP OF SOLDIERS anervene K% ee A BANKS 
OF A RIVER. Superb water color painting of masterly 


jiu oe finish. 6 x 12% inches. 
COROT, JEAN BAPTISTE CAMILLE. 1796-1875. 


118. WOMAN AND CHILD WALKING ON A ROAD TOWARDS 

A VILLAGE. Magnificent drawing in black and white 

charcoal and wash. Signed Corot on lower border towards 

Lf (0 “— the left. An example of the first importance. From the J. 
Staats Forbes collection. 10 x 17°4 inches. 


FRERE, EDOUARD. 4 Jae 


119. THE SEE-SAW. Charming chalk and water color drawing. 
Dated 1869. 814 x 1154 inches. 
nde 


FRERE, EDOUARD. (Continued) A Viraxdale 


120. WOMAN DRIVING A NAIL IN THE WALL TO ATTACH 
= yo A CRUCIFIX, WHICH IS BEING HELD BY A 
fee SMALL GIRL. Water color painting. 1444 x 103% 


inches. 


THE SAME.. 8 Dive a AES OR Ee. 


121. WOMEN IN PRAYER BEFORE CRUCIFIX. Large chalk 

and water color design. Very decorative and of high 

a draftsmanship. Signed and dated, 1879. ‘The above three 

loins oer items are from the Hargrave sale, and were previously in 
the Nettlefold collection. 23 x 15°84 inches. 


GILBERT, SIR JOHN. Be te. iGtapore: 
122. THE ALARM. Water color painting. 9% x 131 inches. 
oe : 
THE SAME. cee h 
123. THE MENDICANTS. Water color painting. 1214 x 914 
AL 02 inches. 


( 


vA 


THE SAME. VW - P. DE oe. 


124. THE CAVALIER. Water color painting. 1214 x 8 inches. 
rv) 


ee 

HE SAME. PRA Oc La- 
125. AFTER WAR—PEACE. Water color ppinting. 12% x 10 
z: inches. 

La anes 

ISRAELS, JOSEPH. ¢: be, , 
126. CHARCOAL STUDY OF A WOMAN. “Signed in ink, Joseph 

Israels, in lower right-hand corner. Interesting study. 


oes Qo = 2.414, x 1156 inches. 


JACQUE, CHARLES. Paris, 1818. 74, [4 47 
127. NORMANDY SHEEP. Superb charcoal drawing of the 
greatest beauty. Signed, Charles Jacque, in lower right- 
ise & 4“ | hand corner. 734 x 13814 inches. 


JACQUE, CHARLES. (Continued) ff 
128. FARM YARD SCENE, WITH ROOSTER AND HENS, in 


various colored chalk. Signed, Charles Jacque, in lower 

left corner. The above and the preceding are both beauti- 

/ qo =) fal drawings from the J. Staats Forbes collection. 834 x 
1314 inches. 


[See Reproduction. | 


LANDSEER, SIR EDWIN. (7. pe le 


129. STUDY OF LIONS. Exquisite pencil and water color draw- 
ing. Signed, Sir E. Landseer, in lower right corner. 414 


26 Aug x 71 inches. 


THE SAME. oh (eae He 


130. ORIGINAL SKETCH FOR JACK IN OFFICE. Highly in- 
ae teresting drawing in pen and pencil. 5° x 714 inches. 
—_— ; 


THE SAME. byt ‘ 


131. STUDY FOR THE PAINTING OF LORD RUSSELL ON 

A PONY, ACCOMPANIED BY A SERVANT IN 

/ Oe SCOTCH GARB. Bold brush sketch in sepia. 18%@ x 
231, inches. 


LEECH, JOHN. Wee. 


132. WATER COLOR SKETCH ae JOCKEY FACING A 
HORSE WHICH IS JUST BEING BROUGHT OUT 

Op lige OF THE STABLE BY A GROOM. Signed, J. Leech, in 
lower corner. Clever water color sketch. 534 x 434 inches. 


THE SAME. a Ur go 
1383. THE START OF A HORSE RACE. Water color sketch, 


“a signed in ink in lower left corner. 6%4 x 934 inches. 


LEIGHTON, SIR FREDERICK. President of the Royal 


Academy. 
1384. PORTRAIT STUDY OF HELEN FITZMAURICE. X- 
ye oe quisitely finished pencil drawing, with soft delicate color- 
ing added. <A portrait drawing of great beauty. 814 x 6 


inches. 


*ySto-LUIM T, pue potpunyy ou() Toqtuun NY 


“IUIIG pre r ULB 


"TAOOVE 


LEIGHTON, SIR FREDERICK. (Continued) 


135. ARTS OF PEACE. The above and the following are Lord 
Leighton’s studies for the mural paintings in the Victoria 
and Albert Museum, South Kensington. These two semi- 

/ 26 circular designs were exhibited in 1909 at the Corporation 
Galleries, City of Bradford, and are from the collection of 
J. M. Swann. Magnificent cartoons of first importance. 
Both 15 x 341, inches. 


THE SAME. Ly §e (3 lope. 
136. ARTS OF WAR. : 
Ble 
MANET, EDOUARD. / 
187. A SPANISH DANCER. Drawing, en hott AS Signed 
Manet at the feet of the dancing girl and “ Barcelona 


(Paola)” at the lower right corner. A magnificent piece 
/ - 5 °*— of great importance. 1634 x 1234 inches. 


MAUVE, ANTOINE. ( U- OL) ee 


188. TWO DRAWINGS ON ONE SHEET, ON THE FRONT, A 
SHEPHERD AND HIS FLOCK. ON THE REVERSE, 
IG Ares TWO PLOUGHMEN. Black charcoal on bluish-gray 
’ paper. Both signed in the lower right corner, “ a Feher,” 

A. Mauve. 101% x 1514 inches. 


THE SAME. Ae O. (J 


139. A HERD OF COWS WITH CALVES: Black charcoal draw- 
sy eu ing on gray paper. 7 x 1114 inches. 


THE SAME. (R: 


140. CATTLE IN WIDE LANDSCAPE, BLACK AND WHITE 
0 os  CHALKS. Signed, A. M. 18% x 11% inches. 


DEE Sa “ny (0. 
141. HERD OF COWS DRINKING IN A POOL. In red, black 
and white chalks; of high artistic quality and very char- 


—08@ ae : : : 
§ 4 — acteristic. Signed with a monogram in lower left corner. 
6%, x 11144 inches. 


MESDAG, H. W. 4 ety Coe. 


142. FISHING BOATS RETURNING. Pastel study ever tile 
( / be collection of Sir J. C. Day, 1909. 1634 x 12 inches. 


MILLET, AIME. G (eye 


143. APOLLO WITH TWO MUSES. Design for the center 

group on the top of the Paris Opera House. A very in- 

a th teresting and spirited pen drawing. Signed, Aimé Millet, 
in lower right corner. 93 x 6% inches. 


MILLET, JEAN BAPTISTE. ft Y 


144. PENCIL DRAWING WITH CANAL AND POPLAR 
neste TREES. 7% x 6 inches. 


ae 
MILLET, JEAN FRANCOIS. = /(/(- e LE bees 


145. MEN USING THRASHING FLAIL. Four beautiful char- 
coal sketches on one sheet in the artist’s most characteristic 
manner. Drawing of the first importance. From the J. 


a p ‘— Staats Forbes collection. 934 x 81, inches. 
[See Reproduction. | 


ey, 
THE SAME. vir. ¢ WO ae 


146. MEADOW WITH FLOCK OF SHEEP AND SHEP- 
HERDESS, IN A FOREST. Pen and sepia. Interesting 


Gs gets drawing. 61/4 x 10 inches. 


ROSETTI, DANTE GABRIEL. to / 
147. FEMALE HEAD IN RED AND BROWN CHALKS. The 


monogram and date, 1863, in lower right corner. 1954 x 
1414 inches. 


So 
THE SAME. L, CML cae 
148. STUDY OF THE HEAD OF DANTE, FOR THE PAINT- 


ING: “DANTE’S DREAM.” Highly characteristic 
5 Z So drawing in black and red chalk. 22 x 17 inches. 


MILLET. 
Men Using Thrashing Flail. 
Number One Hundred and Forty-five. 


AEP Sect ES 


le ORE 5 5 LAER 


| 
| 
| 
| 


ROUSSEAU, THEODORE. kn 
149, WOODED LANDSCAPE, WITH A RIVER TQ THE LEFT. 


Drawing in black pencil and white crayon on brown paper. 
as From the collection of Alex. Young. 614 x 1014 inches. 


SCOTT (2). TCS eh ares 


150. ST. CUTHBERT AND THE BLUE BIRD. Water color 
208 painting. 121% x 9 inches. 


STANSFIELD, CLARKSON. ou ea One L Tie 
151. FORT ROUGE, CALAIS. Spirited water (olor painting. 
10 x 141% inches. 
cen peer ae | 


THE SAME. ~ | | 
152. THE HARBOUR. A beautiful marine piece in water color. 


934 x 1384 inches. 


Oe oo 
THE SAME. CA A ee. 


1538. THE CATHEDRAL AT ANGERS. Magnificent pencil 
a ‘ drawing. 18°4 x 10% inches. 


THE SAME. ky eG md 


154. PRIVILEGIERTES WEIN UND KAFFEEHAUS, WUERZ- 
BURG, IN THE REAR THE CHURCH OF NOTRE 


foe DAME. Highly finished pencil drawing. 1034 x 1114 
inches. 
SWAN, J. M. Re 4 


io A SPUDY OF THE SILENT NORTH.” HEAD OF A 
POLAR BEAR APPEARING ABOVE THE WATER. 


oé 


~~ Clever study in black and white chalk. Signed in lower left 
corner. 11°34 x 914 inches. 
THE SAME. - Z 


156. STUDY OF A LEOPARD IN COLORED CHALKS ON 
BLUE PAPER. Spirited drawing, signed in lower right. 
ey ¢¢ =—S ss & x 814, inches. 


UNKNOWN ARTIST. Ls Whee 


157. LANDSCAPE, WITH PEASANTS WALKING ON A ROAD 

See TOWARDS A VILLAGE, HIGH HILLS IN THE DIS- 

Phe TANCE. Pastel painting of high artistic qualities. 105, 
x 155% inches. 


THOMPSON, GEO. — J -V\apeeen 


158. NUDE BOY, SEATED. Exquisite silver point drawing. 
Was Ge. 6 x 54 inches. 


VERBOECKHOVEN, EUGENE. ee animal 


painter. ) - / 
159. SHEPHERDESS WITH COWS AND SHEEP. Superb 
iS drawing in black and white chalks on brown paper. Signed 
(fe in lower left corner and dated 1876. 934 x 1414 inches. 


THE SAME. ue 6d) (See 


160. A SHEEP WITH A LAMB.  Bea(jtiful drawing in black and 
aes white chalk on brown paper. Signed in ink and dated 776. 
Rae pap i 
514A x 614 inches. 


THE SAME. Yun Ve. 
161. A COW AND TWO SHEEP STANDING IN A BROOK BY 
ae A WILLOW TREE. Chalk drawing like the two previous 
Le ae ones. Signed in lower right corner and dated 1876. 1414 
x 1014 inches. 


WINTERHALTER, FR. XAVIER. e oy. fe Pra 


162. PORTRAIT OF THE PRINCESSE LOUBECKI. Pencil 
shi drawing on gray paper. Signed, Winterhalter, in lower 
vec left corner. 1114 x 9 inches. 


ZAMACOIS. (Spanish artist.) OP ily: (? (3 ter 
168. A BRAVO. Clever water color painting. / Signed on the lower 
) os right. 1014 x 7 inches. 
Sie V4 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 
UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 


Second Session, Numbers 164 to 232 Inclusive 


THURSDAY EVENING, MARCH 26th, AT 8.30 O’CLOCK 


FRAMED ENGLISH MEZZOTINTS (MANY OF WHICH 
HAVE AMPLE MARGINS) 


BARNARD, W,, after L. F. Abbott (1797) .7”%- is : a nrg 


164. THE PORTRAIT OF ALEXANDER DAVISON, EsQ/ 
Paes Scratched letter proof. A magnificent impression. 


THE SAME, after S. Drummond. FUIRAA. V) es ,, LOA 


165. PORTRAIT OF SIR JER. FITZPATRICK, M. D. _ IN- 
SPECTOR GENERAL OF HEALTH TO HIS 
— oe MAJESTY’S LAND FORCES. A beautiful, strong im- 


g 


Y pression. In perfect condition. 
Vw: Be Vv. | 
COUSINS, SAMUEL, after Sir Joshua Reynolds. 


166. THE DUCHESS OF RUTLAND. Full length portrait with 


wide margins. Perfect impression of the state published 

al by Agnew. 1878. (Spotted.) . : 
VV A IL 

GAINSBOROUGH, DUPONT, after Thomas Gainsborough. 

167. THE ELDEST PRINCESS. Triple full length portraits. 


Qa! Good impression. 
GREEN, VALENTINE, after Thomas Gainsborough. © / 


168. PORTRAIT OF JOHN THORNTON, ESQ. Portrait in full 


Qos size, seated in a chair, with outlook upon an open land- 
~ <— 


i 


CoO3C 


scape. Good impression. 


GROZER, J., after Romney. 714 - (Cdn 
169. PORTRAIT OF ABRAHAM NEWLAND, Q., GOVER- | 


NOR OF THE BANK OF ENGLAND. Three-quarter 
oe? length. Open letter proof in fine impression. 


nih bcanhe 
McARDELL, JAMES, after Reynolds. 


170. LADY FORTESCUE. Brilliant impression. Perfect condi- 


tion. 
g¢ 


— 


MAILH, G., after Rubens. -. Yi ee 
171. HEAD OF A GIRL IN STRAW HAT. Superbly printed in 


colors. An impression of great beauty and in fine condi- 


/ 3 a tion. 


MORLAND, GEORGE. Engraved by G. Keatine. 
172. TREPANNING A RECRUIT. "The he plate of the set 


of four. 1791. Numbers 172-184 form. an unusual collec- 
7 ls eee tion of original mezzotints after George Morland. They 
are mainly rich impressions. 


THE SAME. 3 \ 
173. RECRUIT DESERTED. The second plate of the same set. 


Figiee 


THE SAME. < : 
174. DESERTER TAKING LEAVE OF HIS WIFE. The third 
/ lA ob plate of the set. 1791. 
THE SAME. 
175. DESERTER PARDONED. The last Mints of the ce The 
y ( jee four comprise a famous and beautiful series. 


MORLAND, GEORGE. Engraved by ee 


176. OUTSIDE OF THE COTTAGE DOOR. Beattie impres- 
oO oo. sion, the title cut off. 


THE SAME. Waal V- Lb ae 


177. PLAYING AT SOLDIERS. Without margins. 


gibi Les 


MORLAND, GEORGE. (Continued) va 


178. BLIND MAN’S BUFF. Without margins. 


{ffir 

THE SAME. a s 
179. JUVENILE NAVIGATORS. Without margins. 

ie ie 


THE SAME. Ye (3. Cree 


180. CHILDREN WITH A DONKEY AND MAN CUTIUNG 
/ pe BRANCHES OF A TREE. Without margins. 


THE SAME. bg btn 
181. THE EFFECTS OF EXTRAVAGANCE AND IDLENESS. 
/ om 1794, Open letter proof. Full margins. 


THE SAME. : 6. uy 


182. THE FRUITS OF EARLY INDUSTRY AND ECONOMY. 
/ ; 1794. Companion to the above. The regular state with 
- the verses. Full margins. 


THE SAME. ecu Lee Oe 
183. THE STORM. Without margins. 

Lf ge 

THE SAME, Ci VER, 
184. THE COUNTRY STABLE. 1792. With margins. 
00. 


EYNOLDS, S. W., after T. Phillips. 7% ess 
185. THE PORTRAIT OF THE EARL OF EGREM ar. Open 


“i 


3 go letter proof, with full margins. A superb impression. 
THE SAME, after J. Lonsdale. Var tbh ani 


186. THE PORTRAIT OF GEORGE WEBB HALL. Proof 
iy before all letters, title and signature marked in pencil. 
aortas An impression of the greatest beauty and briliancy. With 

margins. 


SMITH, JOHN, after Sir G. Kner GB eo 


187. THE PORTRAIT OF THE RIGHT HONORABLE LADY 
2 Hi ELIZABETH CROMWELL. Full length. Good im- 


pression. 


ts b h ey 


SAY, WILLIAM, after Sir Joshua Reynolds. 


188. THE CONNOISSEURS, A PORTRAIT GROUP OF: Sir 
W. W. Wynn, Sir I. Taylor, Mr. Payne Galway, Sir Wm. 
aa ht) | Hamilton, Mr. Richard Thompson, Mr. Stanhope and Mr. 
Smith, of Heath. Superb impression. 


ty {s y 


SMITH, JOHN RAPHAEL, after J. Hoppner. 


189. THE PORTRAIT OF THE DUKE OF BEDFORD. Full 
Lee length. 1799. With margins. 


THE SAME, after Sir Joshua nate a W ele 


190. BACCHUS (MASTER HERBERT). Scratched letter proof. 
Very fine. 
chad 4 
SPILLSBURY, J., after Sir Joshua Reynolds. - | 


191. PORTRAIT OF THE RIGHT HON. FREDERICK 
= HOWARD, EARL OF CARLISLE. Full length, in a 
is aeons landscape, with a dog. 1763. Good impression. 


THE SAME. Tae 


192. THE RIGHT HONORABLE LADY MA LESLIE 
KNEELING WITH FLOWERS AND LAMBS. 1766. 


g° Ge Sls $ . 
oo Lie Fair impression. an ae vA 
TURNER, C., after Sir Thomas Lawn” 
1938. PORTRAIT OF THE RIGHT HON’BLE JOHN LORD 
ROLLE. Scratched letter proof. Superb impression, 


/ ¢=— showing the plate margin. 
TURNER, C., after James Lonsdale. \ i. A n 


194. PORTRAIT OF EDMOND YATES. Full figure, seated, with 
49 prospect upon an open landscape. 1826. Open letter 
M ae proof. Magnificent impression, with margin. 


(a) eae KO, ae i 


Pint 2 = /9 5% - Sanhe tlbenglen - ae he 


a P Sei 


TURNER, S., after John Raphael ae ane 


195. THE HON. CHARLES JAMES FOX. Full length, seated 


in a chair, his bust, showing the name to the left behind. 


¢ . . . . 
eo 4 Superb impression. Lower margin repaired. 


WATSON, JAMES, after W. Hamilton. (2 VL. Ko) 
196. ANN, COUNTESS OF CORK. Oval portrait. 
sion. 
j= 


—— 


COLOR PRINTS, STIPPLE AND LINE ENGRAVINGS 


BARNEY, JOS., after W. Hamilton. 704 Wr 


197. THE PILGRIM. 
pe colors. 


BARTOLOZZI, FRANCESCO, after G. B. pec aies safe 


198. CUPIDS AT PLAY. 
Rs ae in brown. 


THE SAME, drawn and engraved by him/ Van yey 


199. A MUSE. Stipple engraving in colors. 
ee 


THE SAME. se 3 
200. HER GRACE, THE DUCHESS OF DEVONSHIRE, after 


the original drawing by Downman for the scenery at Rich- 


7 e mond House Theater. Stipple engraving in brown. No 


margin. 


Stipple engraving. Beautifully printed in 


Circular stipple engravings. Printed 


BATE, M. N., after Adam Buck. (p> Jae gp atpo es rf) 
\ 
201. A MOTHER AND CHILD, underneath the verses: ‘* Mamma, 


a don’t make me beg in vain; pray read the pretty book 
} ou . . . . . . . be 
UY — ~~ again.” Stipple engraving. Exquisitely printed in colors. 


Fine impression, with margin. 


LADY AND CHILDREN IN A LANDSCAPE, after 


Bunbury. WNAn- wr 
202. COLORED STIPPLE ENGRAVING. Somewhat damaged‘ 


lower right. 


Fa ee 


e) 


CONDE, JOHN, after R. Cosway. Q. (Cpulhwy 


203. MRS. FITZHERBERT. Famous stipple engraving, with 
ee de margin. 1792. 


GAUGAIN, T., after Barker. Mun: (3 x. 
204. THE MARKET GIRL. Stipple engraving, Pe in lack. 


ee 


JEFFRYES, JOHN. yp” ee 


205. THE BURIAL OF GENERAL FRASER. Stipple engrav- 
/ 32 ing, printed in dark brown. 


JONES, JOHN, after-W. R. Bigg. MALU LE A 


206. DULCE DOMUM, OR THE RETURN FROM SCHOOL. 


&; Mezzotint. Fine impression of this famous plate. 
g¢ 


THE SAME. | : 


207. BLACK MONDAY, OR THE DEPARTURE FOR SCHOOL, 
Seat pendant of the above. Worn impression. 1790. 


DE LAUNEY, N., after N. Lavreince. Wi: (ae 


208. QU’EN DIT L’ABBE. LE BILLET DOUX. A famous pair - 
of engravings of the French: ‘“ Genre gallant.” Fair im-. 


jh eae. pressions. 


SMITH, JOHN RAPHAEL, after Movlanas We hh 


209. [THE PROGRESS OF LAETITIA.] A pair of stipple en- 


gravings, printed in brown. Margins cut away. Complete 


[5s — __ set is in six plates. 


210. FISHERMEN. Stipple engraving, printed in black, with 
3} 0° margins. 


TOMKINS, P. W., after M. Brown.) ()._ ve prec f 


211. LOUIS XVI. WITH HIS FAMILY IN THE TEMPLE AT 
PARIS. Stipple engraving, printed in black, published 
ee 1795 (somewhat stained). 


WATSON, CAROLINE, after Samuel Shel’ (s Moree 


212. MOTHER WITH TWO CHILDREN. Stipple engraving in 


$0 oval proof before letters showing the full plate margin. 


rd 
| MODERN PRINTS. 
APPLETON, THOMAS G., after Romney¥Vau 1 Lh aus 


218. LARGE MEZZOTINT PORTRAIT OF LADY HAMILTON. 
Bue Ve Signed proof before letters. 


BAROYA, R. 1: ee Rese 


214. FOUR FRAMED ETCHINGS, all signed artist’s proofs. 


ek 
ones M., after Sir Peter Lely. Q Chores. eae 


215. GIRL’S HEAD. Mezzotint. Beautifully printed in colors. 
/( Signed artist’s proof. 


GUIETTE, F. | ym. (2 Mba 


216. MOONLIGHT LANDSCAPE. Etching. Signed proof. 
J 
GULLAND, E. nie be 0) 
217. MEZZOTINT PORTRAIT OF A YOUNG WOMAN, ae 


) Sz an XVIIIth century painting. Signed proof. 


HADEN, SIR F. SEYMOUR. CAPALLE, 


218. “THE LARK AT HEAVEN’S GATE SINGS.” ‘Etching. 


oot 
HENDERSON, WILL. Wy - (20 Mare 


219. INNOCENCE. Modern mezzotint. Printed in colors. Signed 
artist’s proof. 


/ 8 


THE SAME. Sea eee 


220. COUNTESS POULET. Large mezzotint haere full length. 
26 Signed artist’s proof, with wide margin. 


HESTER, E. M. VY: (2. MD ame 


221. BOY’S HEAD, after Greuze. Modern mezzotint. Printed in 


y Be. colors. Signed proof. 


HEWLETT, ARTHUR. >. 
222. GIRL’S HEAD. Mezzotint. Signed proof with wide margins. 


ee 


HIRST, NORMAN, after Raeburn? (3 Ne 
223. PORTRAIT OF MRS. IRVIN BOSWELL. Signe proof, 


Wee e with wide margins. 


i 
LILY, EUGENE. 


224. YOUNG WOMAN, IN rae -QUARTER LENGTH, 
i, : STANDING IN A LANDSCAPE. Modern copy of an 
VG XVIIIth century stipple engraving. Beautifully printed 


in colors. Signed proof. 


EAR AMIENS. Etch- 


LEGROS, ALPHONSE. 
225. THE BANKS OF THE SOMME, 
/ os ing, with wide margins. 
MACBETH, ROBERT, after the painting by Sir Wdward 
Burne-Jones. 
226. LE CHANT D’AMOUR. Etching. Signed proof. Note in 
y Ae pencil on the upper margins: ‘“ Nr. 3 last proof, Aug. 2.” 
MILLER, JOHN D. St. 


227. MEZZOTINT HEAD OF A YOUNG GIRL, after/Greuze. 
3 Fiat Signed proof on India paper, with wide ae 


NICOLL, FRED. ta 
228. HEAD OF A GIRL, after eae Mezzotint rinte 


/go-C~ colors. Signed proof. 
NORMAN, H. wh pa cys: 
229. HEAD OF A WOMAN. Mezzotint. Befutifully printed in 


colors. Signed proof on India paper. 


ee 


fo Sc 


STAMP, ERNEST, after Sir Joshua Reynolds. ave 


230. LADY BETTY DELME AND CHILDREN (after the paint- 
oh Qe ing in the J. P. Morgan collection). Large modern mezzo- - 
tint, printed in colors. Signed proof on India paper. 


UNKNOWN ENGRAVER. Las he. (3Cox 
Vig 


231. MEZZOTINT PORTRAIT OF A LA ppobably after a 
. painting by Hoppner or Gainsborough. Beautiful proof, 
ie with wide margins. 


WHISTLER, J. McNEIL. v7 Sia eon 


232. LES BONNES DU LUXEMBOURG, W. 48 NURSEMAIDS 
IN THE LUXEMBOURG GARDENS. Lithograph. 
LA ec 


AMERICAN ART ASSOCIATION, 
Managers. 


THOMAS E. KIRBY, 


Auctioneer. 
ae Weel, Wablasrine 
Cnet a “Ae yn: A Kha Chath Y sp) n 


vu?" 
Pa 


iz 4¥ 


ia 


